Theatre Maxim's A Theatre Maxim Cabaret at Planet Earth Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 1/15/00
(out of )While the Valley of the Sun can give most second tier cities a run for their money when it comes to theatrical offerings and venues, sadly, there is one thing that hasn't trickled down from the to tier of theatre meccas: the unique musical performance called the cabaret. These originally flourished in East Village bars and SoHo basements, a showcase for musical theatre performers who were "between gigs." By the '70s and '80s, they became an art form all their own, and some people achieved recognition not on the Main Stem, but in these smoky, cramped quarters belting a mix of slow ballads and popular showtunes to the "Cover and two drink minimum" crowds. In trying to explain these shows to questioning callers, Theatre Maxim's Artistic Director Dominik Rebilas described them thus: "In theatre, you have a major production at the high end, and a staged reading at the other. In musicals, you have the high end major production, and the cabaret at the opposite." I couldn't have said it better myself.
Unable to secure a befitting location, TM has turned Planet Earth Theatre into a showcase for the talents of singers Shana Bousard, Sherri Hildebrand and Silva Mateosian. While it is missing the all important small round tables and circulating cocktail waitresses, it does recreate in mood places like the East Village's Duplex Upstairs Cabaret. The retro red and white floating panels, requisite piano and drum set, mixed red and blue lights, and minimal set and props give these three women the space necessary to present pastiches and full versions of a myriad of songs. The unusual, eclectic mix taps all the usual suspects, like Sondheim, Herman, Weber, Bock & Harnick, and also tosses in highlights from Babs and Helen Reddy. The evening is filled with music, and while it claims to want the audience to "get to know" the three ladies, there's less audience interaction than most cabarets I've experienced, choosing instead to let the large musical repertoire speak for them.
In another switch from the usual cabaret format, which often focuses on only one or two performers, this brings three women together, and does not always create even results. There are three types of singers represented, and their styles do not always mesh, though there is not one bad performance or song, per se. The strongest singer of the three, Ms. Mateosian is a prototypical belter in the style of a Merman or a Peters. She can fill the intimate space with her bold voice, and still seem like she's holding back. At the other end is the nightclub stylings of Ms. Hildebrand, who tends to be a softer, subtler singer, more comfortable with longing unrequited love ballads than brassy numbers. Directly in the middle is Ms. Bousard, who can belt 'em and blues 'em when needed, but whose forté seems to be the comic songs more often associated with Kander & Ebb or Maltby & Shire-type cabarets. When highlighting their specific skills, they do a great job. It's when the three blend together for a pastiche or group number that they lose their strengths and miss the mark.
Joe Bousard, in his roles as Musical Director, Arranger and Pianist, does an outstanding job. His piano work is above reproach, as is the work of percussionist Scott Flay. In his arrangements, it was his desire to use this forum not only to present great music, but to establish a style that will represent Theatre Maxim. Here, too, there is some question as to the choice of songs, which kept away from bold feminine statements, choosing instead to concentrate on women as defined by the men they love and lose. Though there are some modern tunes, this show could easily have been performed in front of guys in turtlenecks and gals in minis around the time I was born. Romance is the overall theme of the evening, and that seems a little antiquated in the twenty-first century. Ms. Bousard, who is half of Theatre Maxim, seems deserving of more notice than reflections on her romantic life, giving her the chance to spotlight in song the tenacity of her commitment to theatre and the difficulties of running a company.
Even with these comments, there's no denying that I found myself smiling constantly at the wonderful presentations and singing along with the obscure songs that filled the evening. Romance may be hokey in the eyes of our ultra-hip, ultra-jaded society, but that doesn't mean it necessarily should be. If you're an old softie like me, and get misty from the power of music, then this is one evening you'll want to attend. Let's just hope that this is the beginning of a trend to give more work to the talented valley performers not currently working on or starring in a full production.
Production Details:
A Theatre Maxim Cabaret Musical
Arrangements by Joe Bousard
Theatre Maxim
Planet Earth Theatre, Phoenix
(602) 265-3418
January 13th - 29th, 2000